Book 1

Flute

The

Andrew Scott Flute Method

B o o k 1

An enjoyable and thorough series of exercises, songs and explanations. Provides the beginning student with a firm foundation for study of the flute.

Book and Audio Set

The Th e


by Andrew Andre w Scott Visit us on the web: andrewscottmusic.com

The Th e


by Andrew Andre w Scott Visit us on the web: andrewscottmusic.com

2

Contents Lesson 1 Parts of the Flute .......... ............... ......... ......... ........ ... 3 Making Making a Soun Sound d on the the Headjo Headjoint int .... 3 Exercises Exerc ises with with the Headjoint Headjoint ......... 4 Tonguing ................................... ....................................... .... 4 Assembling Assembling the Flute .............. ................. ... 4-5 The Note A ............ ................. ........... ........... ........... ........ 5 Playing a Note .......... ............... .......... .......... .......... ....... 6 Carrying the the Flute Flute ............ .................. ............ ........ 6

Lesson 2 The Staff, Staff, Treble Clef ..................... 7 The Half Half Note Note (or Minim Minim)& )& Rest Rest ... 7 Bars & Bar Lines, ............ .................. ............ ........ .. 8 The Quarter Note (Crotchet) ......... ......... 8 The Time Signature Signature...... ............ ............ ........... ..... 9 Quarter Rest, Rest, Final Bar Line Line .......... .......... 9 7 Exercises Exercises with the A note note .......8-9

Lesson 3 How to Tune Tune the Flute ............... ................. .. 10 Tuning Exercis Exercise e ..... .......... .......... .......... .......... ..... 10

Lesson 4 The Note B ........... ................. ........... ........... ........... ..... 11 Note Stems ........... ................ .......... ........... ........... ....... 11 Repeat Repeat Sign, Sign, Bar Numbers Numbers .......... .......... 12 7 Exercises and Songs including Basic Blues (duet) * ....... ............. ...... 11-13

Lesson 5 The Note G ........... ................. ............ ........... .......... ..... 14 The Note C ........... ................. ............ ........... .......... ..... 15 13 Exercises and Songs including Hot Cross Buns, Yankee Doodle, Merrily & ABC Exercise ..... ........ ... 14-16

Lesson 6 Breathing Breathing and Blowing Blowing ............... ................. 17 2 Breathing Breathing Exercis Exercises es ....... .............. ........... .... 18

Lesson 7 The Dotted Half Note (Dotted Minim) .......... ............... .......... .......... .......... ........ ... 19 The Common Common Time Time Signatur Signature e ..... ..... 20 7 Exercises and Songs including Satellite Song ................... 19-20

Lesson 9

Songs Songs with with D ............ .................. ........... ........... ...... 45

Flat Signs Signs After After a Clef ............ .................. ...... 24 7 Exercises and Songs including Love Me Tender, Tender, Jingle Jin gle Bells, & Ode to t o Joy ..................... ............................ .......23-25 23-25

Good Fellow, When Johnny Comes Marching Home and Twinkle, Twinkle, Twin kle, Little Little Star ..... .......... ....... 45-47

The Note B Flat (B b ) ........... ................ ....... .. 23 6 Songs including For He’s a Jolly

Lesson 10 The Lead In...... In ........... ........... ........... ........... .......... .... 26 3 Exercise and Songs including The Banks of the Ohio and When the Saints Saints Go Marchin’ In ...... .......... ....

............................................ ......................... ................... 26-27 26-2 7

Lesson 11 The Natural Natural Sign Sign ............ .................. ............ ........ 28 The Right Hand B b ........... ................ ......... .... 28 The Three Four Time Signature Signature ... 29 The Tie .......... ................ ............ ............ ........... ........... ......30 30 1st and 2nd Endings ........... ................ ......... .... 31 9 Exercises and Songs including Barcarolle and Roses from the South Sout h ..... .......... .......... .......... .......... .......... .......... ....... ..28-31 28-31

Lesson 12 The Whole Whole Note Note (Semibr (Semibreve eve)) ..... ..... 32 The Note E ........... ................. ........... ........... ........... ..... 33 11 Exercises and Songs including Good Evening Friends & Mary Ann............................ 32-35

Lesson 13 The Eighth Eighth Note Note (Quaver) (Quaver) ........ .......... .. 36 12 Exercises and Songs including Shave Sha ve and a Haircut Haircut ... ....... ........ ...... .. 36-38

Beam Me Up ........................ 21-22

Lesson 17 The Dotted Quarter Note (Dotted Crotchet) Crotchet) ........... ................ ........... ........... ........... ......48 48 8 Exercises and Songs including Ode to Joy Joy (advanced (advanced version) version) .

............................................. ......................... .................... 48-50

Lesson 18 The Note Note E (Middle (Middle Register) Register)...... ...... 51 15 Exercises and Songs including Takeda, My Bonnie Lies over the Susanna ..... .......... ..... 51-55 Ocean & O Susanna

Lesson 19 Staccato Staccato ......... .............. ......... ......... .......... ......... ......... ..... 56 7 Exercises and Songs including The Mexican Hat Dance and Shortnin’ Shortni n’ Bread Bread ..... ........... ........... ..... 56-57

Lesson 20 The Note Note F Sharp Sharp ............ .................. ........... ..... 58 13 Exercises and Songs including Jingle Bells (complete), We Wish You Y ou a Merry Christmas, Hark! The Herald Angels Sing and Good King Wencesla Wenceslas s ...... ........... .......... ..... 58-62

Lesson 21 Lesson 14 The Note Note D ............ ................. ........... ............ ......... ... 39 8 Exercises and Songs including Big Ben, The Volga Boatman, Harem Dance & La Spagnola ...... ............ ............ .......... .... 39-41

Lesson 15 The Note D (on the 4th 4th Line) Line) ..... ..... 42 The Three Three Flute Flute Registe Registers rs ........... ........... 43 Changing Changing Registers Registers ........... ................. .......... .... 43 12 Exercises Exercises and and Songs Songs ....... ......... 42-44

Lesson 8 The Note F ........... ................ .......... ........... ........... ....... .. 21 The Slur .......... ............... .......... .......... .......... .......... ........ ... 22 7 Exercises and Songs including

Lesson 16

* Bold type denotes duet

The Note Note F (Middle (Middle Register) Register) ....... 63 14 Exercises and Songs including Pick a Bale o’ Cotton, Camptown Races, & The First Noel ..... 63-67

Fingering Chart.................. 68 Glossa Glo ssary ry .... ....... ....... ........ ........ ....... ....... ........ .... 6 9 Preview of Book 2 ............. 70 Other Publications from Andrew Scott .... ........ ........ ........ ........ ...... .. 71 Order Form ........................ 72

3

Lesson 1 Parts of the Flute A flute is made up of three pieces - the head joint, the middle joint and the foot joint. Headjoint

Foot joint

Tone hole

Middle joint

Lip plate

Barrel

Making a Sound on the Head Joint Hold the head joint with both hands as shown on the illustration below. against your lower lip so that it covers about a quarter of the hole.

Blow gently across the hole towards the opposite edge. The head joint should make a sound. If you can’t make a sound, try moving the head joint a little to the left or the right, or rolling it in towards you or out away from you.

Place the lip plate

Tip Be very, very patient with this process. Some people take days before they can get anywhere. Blow smoothly, and avoid huffing and puffing. It is not necessary to swell up your cheeks.

4

Jungle Sounds When you can make a sound, vary it by covering the open end of the head joint with your right palm. You can hear this on Track 2 of the CD.

Jungle Sounds

Track 2

This track contains the sound of the open head joint, then the head joint with the palm placed over the end, then some twittering and fluttering as the hand is moved on and off the barrel.

Tonguing Use your tongue to start and stop the sounds. As you blow across the mouth hole, whisper the word too, or doo, several times. Let the tip of your tongue rest at the back of your top teeth as you start to blow, so that it blocks the air. When you whisper too , the air rushes into your flute and the note starts. When you replace your tongue against your teeth the sound will stop. This technique is called tonguing. stop cleanly.

Flute players use it all the time to make notes start and

Listen to Track 3 on the CD.

Tongued Notes

Track 3

First you will hear four notes on the head joint without tonguing. Then follow four notes with tonguing. You can hear the difference. Without tonguing, the attack on the note sounds more like a foo or a hoo than a too or a doo.

Putting the Flute Together When you pick up the middle joint, make sure you hold it by the barrel. Try not to grip the keys because too much pressure can bend them. As you insert the head joint into the middle joint, twist it back and forth to help it slip in more smoothly. Line up the mouth hole with the key on the middle joint.

Line up these two points

5 Attach the foot joint to the middle joint, then line them up as shown.

Middle joint Foot joint

Line up the post on the middle joint with the middle of the lever on the foot joint.

The alignment of the joints shown above is an average position. You can adjust them later to make them more comfortable.

The Note A Refer to the fingering diagram and the position of the person in the illustrations below and on the next page. Place your fingers on the keys shown for the note A. Left Hand Fingers

Right Hand Fingers

2

1

4 T 1

2

1

3 4

4

3

2

1

T

Left Hand

Right Hand

Playing Position Make sure the flute extends to your right, not your left. Turn your left hand so that its palm faces toward you, and your right hand so that its palm faces away.

6

Playing a Note Play the note A. Vary your attack - try it with tonguing and without. It requires much more skill to play your A note on the flute than it does on the piano or guitar. To produce a beautiful tone you need to strengthen and refine the muscles around your mouth. This is a long term process.

Support the flute in 4 places: 1. your right thumb; 2. the first finger of your left hand, between the hand and your first knuckle; 3. your lower lip, and 4. the fourth finger of your right hand.

The right hand fourth finger is not strictly necessary for the sound of some notes, but it does help you to balance and control the flute. Get in the habit of following the fingering diagrams exactly. They will help you achieve maximum effect.

Carrying the Flute When you carry your flute, grip it around the barrel on the middle joint. Don’t carry it by the head joint alone, because some head joints are loose, and can fall out of the middle joint.

Tips Try to keep the little finger of your right hand curved as it holds open its key. This will help prevent cramps, and allow your right hand to be more flexible. Perform exercises to stretch and strengthen your shoulders and arms if they become painful from supporting the flute. If you become dizzy or light-headed from blowing, fast forward to the lesson on breathing on page 17.

7

Lesson 2 The Staff A staff (plural: staves) is a set of five lines and four spaces upon which music can be written. The lines and spaces are numbered from the bottom.

5th line

4th space

4th line

3rd space

3rd line

2nd space

2nd line

1st space

1st line

The Treble Clef The symbol at the left end of the staff is called a treble clef. Every line of flute music has these clefs to show you how notes are named. There are other clefs, such as bass and alto clefs, but for flute playing you only need to know this one.

The Half Note

The Half Note A

(or Minim)

The position of a note in the staff tells us its name.

The symbol below is called a half note (or minim in some countries). A half note has a value of two beats.

2nd space

Count:

1

1

2

Rests mean that you don’t play any note. The following symbol drawn on the middle line of the staff is a half rest (or minim rest). Play nothing for two beats, but keep counting.

2

The note above, written in the second space of the staff, is the A note you learned on page 5. Count:

The Half Rest (or Minim Rest)

Count:

1

2

8

Exercise 1

Track 4

This exercise contains three A notes, each to be held for two beats. On the CD there are another two beats on the tamborine after the third A, then the exercise is repeated three times. The second and third repeats contain only the tamborine. Play the three notes below, tonguing each one.

Think:

1

1

2

1

2

2

1

2

The Bar Line Notes can be grouped in bars or measures. Bar lines divide groups of notes into equal numbers of beats. bar line

2 beats

+

Exercise 2

2 beats = 4

bar line

2 beats

+

2 beats = 4

Track 5

Played four times on the CD, as above.

Think:

1

2

1

1

2

1

2

2

All the following exercises on the CD are played twice - once with the flute and tamborine or other instruments (the accompaniment), and once with just the accompaniment.

The Quarter Note (or Crotchet) Whereas the half note symbol is a half-hollowed out egg shape with a stick on one side, the quarter note symbol is a solid egg shape with a stick. The quarter note has a value of one beat.

Exercise 3

Think:

1

Track 6

2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

9

The Time Signature A time signature is a symbol that tells you how many beats should be played in each bar, and what kind of beats they are. The pair of fours at left are known as the four four time signature, which means that each bar contains four beats. These beats can be any combination of quarter and half notes or rests, or other notes that you will learn later.

Exercise 4

Track 7

Take breaths where and whenever you can. The most important thing at this stage is to keep in time with the CD.

Think:

The Quarter Rest (or Crotchet Rest) The quarter rest is a squiggly device meandering between the 1st and 4th spaces of the staff. Its value is one beat of silence.

Exercise 5

Track 8

The Final Bar Line The thick and thin lines at the end of the next exercise are a final bar line. They indicate the end of a piece of music.

Exercise 6

Track 9

Exercise 7

Track 10

10

Lesson 3 How to Tune the Flute You must be able to tune your flute to make it sound at its best when you play with other instruments or recordings.

Step 2

You can do this by playing your note and then comparing it to a tuning note.

Step 3

Start Track 1 again. Play your A’s, then listen to the notes on the CD.

Step 1

Were your A’s at exactly the same pitch, or were they higher or lower?

Listen to Track 1 on the CD, following the music on the chart below.

Step 4

Tuning

Track 1

If your notes sound the same as the CD notes, your flute is already in tune. Go to Step 7.

Step 5 If your notes sound lower than the CD, your flute is said to be flat. Raise its pitch by pushing the headjoint further into the body, then repeat Steps 2 and 3.

Pushing the headjoint in raises the pitch.

Step 6 If your notes sound higher than the CD, your flute is said to be sharp. Lower its pitch by pulling the headjoint out from the body, then repeat Steps 2 and 3.

Pulling the headjoint out lowers the pitch.

Step 7 As a final check, play your A’s at the same time as the notes on the CD. If the two notes are in tune they will sound like one instrument. If not, there will be a harsh, irritating beating sound, somewhat like two blowflies sparring. Begin tuning again.

Tuning Tips 1. Don’t be too concerned if you can’t tell whether you are sharp or flat. It can take a long time before you hear the difference. 2. Hot weather makes the flute sharp.

Cold weather will make it flat. You will need to adjust your headjoint more on hot or cold days.

11

Lesson 4 The Note B

1

4 T

Note Stems Notes on the Staff The location of a note on the staff tells us its name. The note B is written on the middle line of the staff.

T below the middle line have Notes written their stems on the right of the note head going up. Notes written above the middle line usually have their stems on the left going down. Notes on the middle line can have their stems in either direction.

Middle

Note head

or 3rd line Stem

Chord Symbols The letters and numbers above the staves in the following songs are chord symbols. A guitarist or keyboard player can use them to accompany you.

B Exercise 1

Track 11

Charlie Byrd Style

B Exercise 2

Track 12

Perro Style

12

The Repeat Sign The two dots before the final barline are a repeat sign. They mean: play the piece again from the start.

B & A Swing

Track 13

Cocktail Style

Bar Numbers (or Measure Numbers) Bar numbers (also called measure numbers) can be used to help you quickly find your place in a piece of music.

Two Note Samba

Track 14

Samba Style

Bar number

Two Note Rock

Two Note Sonata

Track 15

Track 16

Bee Gees Style

Serene Latin Style

13

Basic Blues

Track 17

Shuffle Rock Style

A piece of music for two instruments is called a duet.

3

Tip To remember the names of notes on the staff, think of the following words:

F

Elephant’s

Every

A

C

E

Great

Big

Dirty

Good

Boy

Deserves

Feet

Fruit

14

Lesson 5 The Note G 3

2

1

4 T 2nd line

G Exercise 1

Track 18

Hot Cross Buns

In the Light of the Moon

Merrily

Afro Style

Track 19

Yankee Doodle (first four bars)

Track 22

The note G is written on the second line of the staff.

Ethnic Style

Track 20

Track 21

Dixieland Style

Soft Shoe Shuffle Style

Afro Style

15

The Note C 1

4

3rd space

Easy to C

It may be very hard to balance the flute when you play this note. Although the little finger of your right hand has no effect on the sound of this note, it serves as one of the 4 balance points, the other 3 being your right thumb, the first joint of the first finger of your left hand and your lower lip.

Track 23

Bayou Stomp

Fast Latin Style

Track 24

Rockabilly Style

Low Speed Lambada

Track 25

Lambada Style

Three Note Exercise 1

Track 26

Raindrops Style

Three Note Exercise 2

Track 27

Jazz Swing Style

Tip It is normal to feel dizzy from all the blowing. You may also get pains in your arms and little finger. The flute may seem unbearably heavy. Don’t worry, you will get over it.

16

ABC Exercise

Track 28

G Exercise 2

Track 29

4 Note Blues

Track 30

Are you still tonguing each note?

Fast Latin Style

Madonna Style

Smooth Jazz Swing Style

17

Lesson 6 Breathing and Blowing When it comes to taking deep breaths, many people think that it is necessary to make a lot effort. This is not always so. After you have mastered the technique shown in this lesson, you will understand how deep breaths can be given to you, without you making any effort at all. There are two stages of breathing - the in-breath and the out-breath.

Breathing Begins with Blowing Without your flute, slowly blow out as much air as you can. When your lungs are empty, hold your abdominal muscles tightly so that no new air enters your body. Hold your muscles tight for as long as you can, until you are almost desperate for air, then let go suddenly. If you are still reading, you must have breathed! Did you notice how easy it was to take your breath compared to the effort you made to blow out? Repeat this procedure a few times until you can feel that the energy used to breathe in is far less than the energy you use to blow out.

Push to blow out.

18

Nature Helps You Breathe When you empty your lungs, you create a low pressure system inside your body. Outside the body is a high pressure system. Nature tries to equalise these two systems by helping you to take a breath. The quickest way to get more air into your lungs is to relax and let Nature work for you.

Relax to breathe in. Breath Marker The following symbol appears at certain places in the music to tell you the best moment to take a breath: 

Breathtaking

Second Wind

Track 31

Track 32

Tip Don’t try to suck air when you are breathing in. Just relax. Allow Nature to fill your lungs. Save your energy for blowing the flute.

19

Lesson 7 The Dotted Half Note (Dotted Minim) A dot written after a note lengthens it by half of its value. A half note, with a dot after it, is played for three beats instead of two.

quarter note (or crotchet) 1 beat

Boomerang

dotted half note (or dotted minim) 3 beats

half note (or minim) 2 beats

Track 33

Think:

1

2

1

2

3

3

4

Half Measure

1

4

1

2

2

Jethro Style

4

rest

rest

4

1

1

2

2

rest

3

4

4

1

1

Track 34

Track 35

2

3

3

rest

rest

Merengue Style

1

Country Modes

2

2

3

4

John Denver Style

20

Satellite Song

Cool Dude

Track 36

Track 37

Bogey Style

Goodnight Style

The Common Time Signature This symbol is known as the common time signature. It is frequently used instead of the four four time signature, and has the same meaning - four beats per bar (or measure).

4 Note Wonder

All Too Common

Track 38

Track 39

Country Style

Medium Rock Style

21

Lesson 8 The Note F

2

1

3

1 4

T 1st space

F Exercise

Track 40

Bayou Stomp with F

Fine Old Time

Flying High

Earl Klugh Style

Track 41

Track 42

Track 43

The note F is written in the first space of the staff.

Rockabilly Style

Country Jethro Style

Pop Ballad Style

22

Beam Me Up

Track 44

Scott Joplin Style

The Slur A slur is a curved line written over or below several notes. When a slur is applied to notes it means that you play them smoothly. To do this, keep blowing as you change the fingering for the different notes. Only tongue the first note of the group enclosed by the slur. Another word for playing smoothly, often used in music, is legato.

Slur Exercise 1

Track 45

Slur

Legato Lullaby

Track 46

Alberti Style

23

Lesson 9 The Note B Flat (B b ) This note is lower than B, but not as low as A. Its pitch is halfway between B and A.

1

4 T The sign b in music notation is pronounced “flat.” A flat sign lowers the pitch of a note by one semitone (see glossary). The flat sign is written after the note in text, (e.g. B b )but before it on the staff. You can keep your thumb on the B b key when you play A, G and F.

Flat to the Boards

Track 47

Reggae Style

Flat signs apply to all Bs in the bar. Bars 1 and 5 of this song each contain only one flat sign, but two B b notes.

Love Me Tender

Track 48

Blueberry Hill Style

24

Flat Signs after a Clef Flat signs are often written on the staff, after a clef. When this happens, as in Ode to Joy, you play every note on the middle line as B b . The presence of flat or other signs after a clef is known as a key signature .

One flat after the clef indicates the key of F major or D minor. A key is the tonal centre of a piece of music. It is the note and chord to which the melody tends to gravitate. In simpler terms, the key is the home note to which the tune wants to return. The key signature of a piece of music is the indication that a particular key is used in the bars that follow.

Ode to Joy

Track 49

Ludwig van Beethoven

Classical Style Ludwig van Beethoven lived in Germany and Austria from 1770 to 1827. This piece is an excerpt from his 9th Symphony.

Jingle Bells

Track 50

Pop Style

25

A Tale of 2 B’s

Track 51

Cool Swing Style

This tune uses both B’s - the B you first learned (called B natural) - and B b .

Thumb B b Exercise

Track 52

Brassy Latin Style

Place your thumb on the B b key when you change from C to F. Then you will be ready for the B b when it comes a few notes later.

Batucada Blues

Track 53

Batucada Style

26

Lesson 10 Rhythm Review

Track 54

Medium Rock Style

The Lead-In (or Pick-up) Songs do not always begin on the first beat of a bar. A lead-in is a group of notes that occurs before the first complete bar of a song, as in the next song.

The Banks of the Ohio

Track 55

On the CD there are 5 beats to introduce this song. Count: 1

Lead-in

Country Style 2

3

4

1, then play.

27

When the Saints Go Marchin’ In

Track 56

On the CD there are 5 beats to introduce this song. Count: 1

Trad. Jazz Style 2

3

4

1, then play.

The final bar of a song that begins with a lead-in contains the beats that were left out at the start.

28

Lesson 11 The Natural Sign

n

This symbol is a natural sign . Natural signs are used to distinguish flat notes (like B b ) from plain, everyday, ordinary notes like B natural (the first B you learned).

Natural Exercise 1

Track 57

Solo Guitar Style

Flat signs written before a note, (not after the clef as part of a key signature) only last for one bar. Thus the notes in bars 2 and 4 are Bn , not B b . Sometimes the natural sign is written in brackets to remind you.

The Right Hand B b

1

1

4 T This fingering is easier to use when you need to move between B b and B n (B natural), as in the exercise above. Go back and play the exercise above using this new right hand fingering.

Natural Sign Rules 1. A natural sign cancels the effect of a flat sign after a clef, but only until the end of the bar.

Natural Exercise 2

Track 58

Funk Style

In the second and fourth bars of this exercise you play B natural (B n ), not B b . In the first and third bars, play B b .

29

Natural Sign Rules (continued) 2. A natural or flat sign lasts all the way through a bar, but expires at the end of that bar.

Natural Exercise 3

Track 59

Bossa Guitar Style

Play 2 B b notes in bars 1 and 3, and B natural (B n )in bar 2.

The Three Four Time Signature The numbers 3 and 4 after a clef are called the three four time signature. They mean that there are only three beats in each bar, instead of four.

Three for One

Track 60

Gospel Waltz Style

A waltz is a piece of music written in three four time. On the CD there are two bars of three beats to introduce songs in three four time (6 beats in total).

Three to the Bar

Track 61

Country Waltz Style

2

2

3

2

30

The Tie At first glance a tie seems identical to a slur. The difference is that the tie connects two notes of the same pitch, whereas a slur connects two or more notes of different pitches. To play a tied note, keep counting as you blow, but don’t tongue the second note.

The Tie

Track 62 Play this A note for five beats.

Think:

Barcarolle

2

3

1

Track 63

2

3

Jacques Offenbach Parisian Waltz Style

Jacques Offenbach (1819-1880) began his musical career as a cello player. His most famous composition is the Can-Can.

Tied Down

Track 64

2

4

1

Bogey Style

2

4

31

Tied Down (continued)

1st and 2nd Endings The following piece contains a line and the numeral 1 above bar 13. This instruction is a first ending. It means that you play the piece to the end of bar 16, then repeat from the beginning. On the 2nd time through, skip bars 13 to 16 and play bars 17 to 20 instead (the 2nd ending). Then repeat the whole piece from the start.

Roses from the South

Track 65

Johann Strauss Parisian Waltz Style

Johann Strauss (1825-1899) lived in Vienna for most of his life and composed some of the most popular waltzes of all time, including The Blue Danube. He came from a family of composers who also produced waltzes.

32

Lesson 12 .

The Whole Note (or Semibreve)

2

3

In the song, Tied Down on pages 30 and 31, you created a note with a value of four beats by joining two half notes together (bars 1-2, 5-6, etc). There is another way to write a four beat note, called a whole note (or semibreve)

4

Good Evening Friends

Track 66

Play B natural in this exercise, not B b .

2

Big Breaths

Track 67

3

4

Classical Harpsichord Style

Relax to breathe in, exert to blow out.

Rhythm Review 2

Track 68

Achy Breaky Style

33

The Note E

2

1

3

1

2 4

T The position of the mouth when playing the flute is called the embouchure. The embouchure is slightly different for every note. You will notice this more as you play the lower notes of the flute’s register - like this 1st line note, E. Try to make the lower notes sound as crisp as the higher ones. Blow into the tone hole a little more, rather than across across it. Also allow allow the mouthpiece to move downwards.

E Exercise 1

Track 69

James Taylor Latin Style

E Exercise 2

Track 70

Funk Style

E Exercise 3

Track 71

Organ Trio Style

E Exercise 4

Track 72

Mandolin Lati Latin n Style

34

Waltz of the Flutes

10 Bar Blues

Soothing

Track 73

Track 74

Chopin Style

Jug Band Style

Track 75

Piano & Orchestra Style

Jok Jokes es How many heavy-metal musicians does it take to change a light bulb? Two: Two: One to screw in the bulb and the other other to smash smash the old one on his forehead. How many alto saxophone players does it take to change a light bulb? Five. One to handle the bulb and four to tell him how much better they could have done it.

35

Mary Ann

Track 76

Bossa Nova Style

36

Lesson 13 The Eighth Note (or Quaver) An eighth note (or quaver) is equal to half a quarter note.

Tail

Eighth Note Exercise 1

Track 77

rest

Think:

Beam

When two or more eighth notes are joined together their tails become a beam.

rest

rest

rest

rest

one and two three rest


Track 78

rest

rest

Think: one two three four and


Shave and a Haircut

Track 79

Track 80

Hip Hop Style

In bar 2, will you be playing B natural or B flat?

rest

rest

37


Track 81


Track 82


Track 83

Mick’s Mexican Mix 5 beats introduction.

Track 84

Music Box Style

38

Eight Enough

Track 85

Fingerpicking Folk Style

Exercises with Flat and Natural Signs Natural Exercise 4

Track 86

Natural Exercise 5

Track 87

Natural Exercise 6

Track 88

Funk Style

39

Lesson 14 The Note D (Low D)

2

1

3

1

2

3

T Although it is more difficult to make this note sound as crisp as other notes, it can be done. Experiment, listen, practise, be patient and enjoy.

1st space below the staff

There is no clip-on attachment that you can buy that will make every note you play on the flute sound beautiful. If there were, would you still appreciate the skill of a fine player?

D Exercise 1

Track 89

D Exercise 2

Track 90

Bossa Nova Style

D Exercise 3

Track 91

Fast Latin Style

It is easier to play D when you slur down to it from a higher note.

40

Two Note Rock with Low D & E

Big Ben

Track 93

The Volga Boatman

Harem Dance

Bee Gees Style

Bell Style

2 - Track 1

2 - Track 2

6 beats introduction on the CD.

Track 92

Vodka Style

Ethnic Style

41

La Spagnola

2 - Track 3

Piano & Strings Style

42

Lesson 15 The Note D (on the 4th Line)

2

3

1

2

3

T

4th line

Middle D Exercise

This note is quite easy to blow, but is awkward to reach when you first learn to move to it from another note.

2 - Track 4

Middle and Low D Exercise

2 - Track 5

James Taylor Latin Style

Bossa Nova Style

To play smoothly, you must be able to make the change from C to D and back again as seamless as the change from A to B. The first target is to avoid dropping the flute in the process!

Middle D & C Exercise

C to D Exercise

2 - Track 6

2 - Track 7

Jazz Swing Style

Hosanna Style

43

The Three Flute Registers A range of notes that have similar tone qualities is called a register . All the notes below the D in this lesson are in the low register. This D (on the 4th line) is the first note you have learned from the middle register.

Low Register

Middle Register

High Register

Low C to C #

Middle D to High C#

High D to Altissimo C

1 octave higher

Dark, chocolate, warm, creamy, mellow, hard.

Light, juicy, sweet, gleaming, supple, soft.

Brilliant, pungent, glassy, piercing, dominating, brilliant.

Changing Registers The following exercises are designed to help you change smoothly between the low and middle registers.

Middle D & B Exercise

2 - Track 8

Guitar Duo Style

Middle D & A Exercise

2 - Track 9

Fiesta Style

Middle D & G Exercise

2 - Track 10

Two Note Rock with C & D

2 - Track 11

Piano & Strings Style

Rock Style

44

G, B, & D Exercise

Beat the Batucada

2 - Track 12

2 - Track 13

Slow Jazz Style

Batucada Style

You can place your thumb on the B b key when you play D. You may like to have it there to remind you to play B b a few notes later.

Now that you have completed all the exercises with D, you can reap your reward with melodies from this and the next lesson.

D Song

D Note Waltz

2 - Track 14

2 - Track 15

Harpsichord Style

Country Guitar Style

This tune features a new key signature - two flats, which in this case indicates the key of B b major. You do not need to learn any new notes. You may notice how naturally the piece finishes on B b .

45

Lesson 16 Songs with D The Carnival of Venice

2 - Track 16

Slow Waltz Style

On the CD there are 5 beats to introduce this song.

For He’s a Jolly Good Fellow

2 - Track 17

Old Style Waltz

Above bar 24 is the instruction D. C. al Fine (pronounced “fee-nay”). This is an abbreviation of Da Capo al Fine, which means that you play the song again from the start until you reach the word Fine (bar 16). 5 beats introduction.

46

There’s a Hole in the Bucket

2 - Track 18

Slow Waltz Style

On the CD there are 5 beats to introduce this song.

Twinkle, Twinkle, Little Star

2 - Track 19

Wolfgang Mozart Music Box Style

Wolfgang Mozart (1756 - 1791) composed more than 600 pieces of music during his short life. He was a virtuoso pianist and also an excellent violinist. This melody is the foundation for a brilliant piano sonata that contains many dazzling variations of the original theme.

47

Blues in G

2 - Track 20

Rhythm ‘n’ Blues Style

There is another new key signature here - G Major, one sharp sign after the treble clef.

When Johnny Comes Marching Home On the CD there are 5 beats to introduce this song.

2 - Track 21

March Style

48

Lesson 17 The Dotted Quarter Note (or Dotted Crotchet) Adding a dot after a quarter note increases its length to one and half beats.

quarter note (or crotchet) 1 beat

dotted quarter note (or dotted crotchet) 1½ beats

Dotted Quarter Note Exercise 1

2

2 - Track 22

2

3

4


4

2

2

rest

3

4

4

rest

2 - Track 24

4


2

2 - Track 23


2

dotted half note (or dotted minim) 3 beats

half note (or minim) 2 beats

2

2

4

2 - Track 25

3

2

3

49

Ode to Joy (advanced version)

2 - Track 26

Piano & Bass Style

This version of Ode to Joy contains more of the original theme than the one on page 24. It is also in a different key - G major.

50

Cornpicking

Dotted Ballad

2 - Track 27

Chet Atkins Style

2 - Track 28

Country Ballad Style

While Shepherds Watched their Flocks

2 - Track 29 Church Style


Tip

Clean your flute often - ideally after every practice session. To clean the inside, twist the end of a tissue or soft cloth through the gap in the end of the cleaning rod that came with your flute. Then insert the tissue and rod into each joint and wipe them dry. Pay special attention to the inside of the tone hole in the headjoint. Wipe any perspiration or tarnish off the outside with a clean tissue or cloth. Use a cotton bud for the areas around the springs and keys.

51

Lesson 18 The Note E (in the Middle Register)

4th space

This E has the same fingering as the E on the first line. Blow a little harder than for the lower E. Don’t turn the flute in towards you because that will muffle your tone.

Middle E Exercise 1

2 - Track 30

Bossa Nova Style

Middle E Exercise 2

2 - Track 31

Bossa Nova Style

D to E Exercise 1

2 - Track 32

D to E Exercise 2

2 - Track 33

Blueberry Hill Style

Gentle Rock Style

52

D to E Exercise 3

2 - Track 34

2 Note Sonata with D & E

Little Brown Jug

Takeda

2 - Track 35

2 - Track 36

2 - Track 37

Soft Funky Style

Serene Latin Style

Bluegrass Style

Ancient Oriental Style

53

God Save the Queen

2 - Track 38

My Bonnie Lies over the Ocean

2 - Track 39

Anthem Style

Country Waltz Style


Reveille

2 - Track 40


Military Style

54

O Susanna

2 - Track 41

Stephen Foster Fingerpicking Guitar Style

Stephen Foster (born 1826 in Pittsburgh, USA, died 1864 in New York) composed more than 170 humorous and sentimental songs depicting life in southern USA in the 19th century. Many of his songs were often used on the soundtrack of the Bugs Bunny Show. 7 beats introduction on the CD.

55

Home Sweet Home

Theme from Finlandia

2 - Track 42

2 - Track 43

Campfire Style

Antonin Dvorák (1841 -1904)

Bossa Guitar Trio Style Born near Prague, Czechoslovakia, Dvorák worked as a butcher while studying music in his spare time. Among his works are 9 operas, 9 symphonies and many other pieces.

Sonata Theme

2 - Track 44

Wolfgang Mozart Alberti Style

56

Lesson 19 Staccato You have seen that a dot written after a note lengthens the note (page 19). A dot written above or below a note means that you play the note short and detached from other notes. This method of playing is called staccato . It is the complete opposite of playing legato, or smoothly. To play notes staccato, think of the letter “d” when you tongue the note, instead of the syllable “doo.”

Staccato Exercise 1

2 - Track 45

Staccato Exercise 2

2 - Track 46

Acoustic Band Style

Staccato Exercise 3

2 - Track 47

Bossa Nova Style

Staccato Waltz

2 - Track 48

Jazz Waltz Style

57

Shortnin’ Bread

2 - Track 49

The Mexican Hat Dance

2 - Track 50

Jugband Style

Mexican Waltz Style


Staccato Blues

2 - Track 51

Funk Style

58

Lesson 20 The Note F Sharp

2

1

3

3 4

T

#

The sign in music notation is pronounced “sharp.”

#

The sharp sign is written after the note in text, (e.g. F ) but before it on the staff.

F # Exercise 1

2 - Track 52

Cha Cha Style

When a sharp sign is written after the clef on the top line of a staff, it applies to all the F notes in the piece.

F # Exercise 2

2 - Track 53

Chopin Piano Waltz Style

An individual sharp sign (not written after a clef) is cancelled by a bar line. The F notes in bars 3 and 5 are natural.

F # Exercise 3

2 - Track 54

Solo Guitar Style

The first note of bars 1, 3 and 4 is F natural.

F # Exercise 4

2 - Track 55

Funk Style

59

F # Exercise 5

2 - Track 56

Latin Rock Style

The two sharp signs in this key signature indicate the key of D major. The natural sign in bar 3 only lasts for one bar. Play all the other F’s as F# .

The Galway Piper

2 - Track 57

Irish Style

The sharp sign after the clef means that you play all the notes in the 1st space as F#.

Aloha Oe

2 - Track 58


Calypso Style

60

Minka

2 - Track 59

Gypsy Style

b

b

The key of this tune is G minor. Its key signature contains two flats - B and E .

Hark! The Herald Angels Sing

2 - Track 60

Hymn Style

61

Happy Birthday (Key of G Major)

2 - Track 61 Country Waltz Style


Jingle Bells (complete)

2 - Track 62

Cocktail Style

This arrangement of Jingle Bells is in the key of G major. It contains extra bars that you couldn’t play when you were first learning (p 24). In addition, the rhythm in several bars (eg bar 3) is more accurate.

62

We Wish You a Merry Christmas

2 - Track 63

Santa Lucia Style


Good King Wenceslas

2 - Track 64

Halleluja Style

63

Lesson 21 The Note F in the Middle Register 5th or top line

The fingering for this note is the same as for the F in the first space.

same fingering

Middle F Exercise 1

2 - Track 65

Bossa Nova Style

Middle F Exercise 2

2 - Track 66

Bossa Guitar Trio Style

Middle F Exercise 3

2 - Track 67

Fingerpicking Guitar Style

DEF Song

2 - Track 68

Fast Latin Style

64

Half Measure with D, E and F

The William Tell Overture

2 - Track 69

2 - Track 70

Merengue Style

Gioacchino Rossini Pizzicato Strings Style

Gioacchino Rossini (1792 - 1868) trained at the Conservatory of Bologna, Italy. He played the cello and composed 36 operas. This extract is from his most famous work. 7 beats introduction on the CD.

The F Major Scale

2 - Track 71


A major scale is a sequence of notes that produces the well-known pattern: Do Re Mi Fa So La Ti Do. You will probably recognise the pattern when you play this exercise.

The F Major Arpeggio

2 - Track 72

Alberti Piano Style

An arpeggio is created when the notes of a chord are played one at a time. The F major arpeggio contains the 1st, 3rd and 5th notes of the F major scale - F, A and C.

65

Dance of the Hours

2 - Track 73

Amilcare Ponchielli Polka Style

Ponchielli (born 1834, Paderno, died 1886, Milan, Italy) wrote many operas, the most famous of which was La Gioconda. He was also a music professor at Milan Conservatory.

The First Noel

2 - Track 74

Slow Waltz Style

66

Extra Songs (not on CD) Camptown Races

Pick a Bale o’ Cotton

Wooden Heart

Stephen Foster

67

The Daring Young Man on the Flying Trapeze This piece is arranged for a trio - a group of three instruments.

69

Glossary accidental - a flat, natural or sharp sign indicating a note from outside a particular key. E.g., the natural sign in bar 3 of F # Exercise 5 on page 59, is an accidental because the F natural does not belong to the key of D major, in which the exercise is written. arpeggio - the notes of a chord played one at a time. chord - a group of two or more different notes played together. dissonant - clashing, not harmonious. D. S. al Coda - short for Dal segno al coda - go back to the sign far as the Coda sign

, play again as

ﬁ, then jump to the second Coda sign, and play to the end.

embouchure - the position of the lips and mouth when playing a wind or brass instrument. harmonize - to combine notes to produce a pleasant sounding blend. key - a pitch that forms the tonal centre, or home sound of a piece of music. lick - a short musical phrase. measure - same as bar. octave - the interval between two notes where the frequency of one is either half or double that of the other. E.g., the two A notes on the staff at right are one octave apart. Notes that are one octave apart usually have the same letter name. phrase - a group of notes that form the musical equivalent of a sentence. register - a range of notes on a particular instrument. riff - a short musical phrase, usually repeated or varied several times within a song. semitone - the smallest interval of pitch used in most Western music. Eg, the interval between E and F, or between B and C, is one semitone. The interval between A and B, or between C and D, is one whole tone. sustain - to hold a note or chord for its full value. syncopation - emphasis given to a normally unaccented beat. transpose - to change music from one pitch or key to another. vibrato - a pulse or throbbing in the sound of a note. On the flute, this is achieved by tightening and loosening the muscles of the throat, as when saying the word who, or when clearing the throat.

70

The Andrew Scott Flute Method, Book 2 A Preview The Note G in the Middle Register

The fingering for this note is the same as for the G on the second line.

same fingering

The G Major Scale


The Note Low C

2

1

3

1

2

3 4

4 T This is the lowest note on the flute, and thus requires more breath than any other notes. Remember to support the airstream from your abdomen, not your chest. Review Lesson 6 of Book 1 to refresh your understanding of this technique.

Lots of Great Pieces

Toreadors’ March

Georges Bizet

71

Other Publications from

Andrew Scott

Hear Andrew Scott play flute, tenor saxophone and sing on this collection of six songs in an easy-listening jazz style. Andrew is ably accompanied by Garry Stocks on acoustic and electric guitars. The album features 25 minutes of music that flows, bounces, swings and soothes, offering the listener a pleasant distraction from everyday cares that is both relaxing and entertaining.

The 6 songs are: The Pink Panther, Summertime, All of Me, A Nightingale Sang in Berkley Square, Won't You Come Home, Jill Bailey? and Tico Tico.

The rhythm section featured on this CD is a “virtual band” - an electronic ensemble of the finest samples available to the music industry. Carefully arranged and sequenced by Andrew and Garry, you won’t believe they’re not live!

72

Order Form To order any of our publications, fill out the form below and or post it with your payment to: Masterpiece Music 28 Ludgate Hill Rd Aldgate South Australia 5154

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